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FIVE HUNDRED OF THESE BOOKS WERE DONE IN THE 
SHOP OF PHILLIPS & WIENES, ONE HUNDRED AND SIXTY 
EAST TWENTY-FIFTH STREET, IN THE BOROUGH OF 
MANHATTAN, NEW YORK, OF WHICH THIS IS NUMBER 




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Phillips ©‘Wienes’ 

Type Book 

SHOWING 

THE DIFFERENT TYPE FACES AND 
SIZES OF TYPES, BORDERS 
ORNAMENTS, ETC. 

TOGETHER WITH 
SUGGESTIONS AND 
A GENERAL LINE 
OF INFORMATION 



Copyrighted 1920 
By Phillips & Wienes 

NEW YORK 


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MAR 16 1920 


A O 










HE announcements of 

T _g thelaunchingofPhillips 
gv & Wienes, Typographic 
Servants, had been in 
the mail just two hours 
when we set ourselves 
to the most arduous task 
of getting up our specimen book 
showing the different faces of type 
in our new plant. That was a day in 
August, last, when the sun had 
pushed the little stream of mercury 
to the point where the disposition of 
man fails. But we were like a child 
with a new toy. Boiling in oil hardly 
could have dampened our ardor. 
We loved our job, and today we 
love it more. Before the first line 
was set, though, a storm broke. . . 
the telephone rang for the first time 
in the history of Phillips & Wienes. 
Since that day we have been too 
busy to think about a specimen book, 
although we’ve been asked for them 
often. Now that the Christmas and 
New Year holidays have long since 


>'•. $)C!.A565211 

I 








passed us by, and that all strikes 
and strife and stress are merely 
memories, and we have an organi¬ 
zation the like of which neverbefore 
has been gathered together, we can 
no longer resist the desire to pub¬ 
lish this wonderful little book. In a 
way you will find it differs from most 
type books in that we have tried to 
give some good advice to theyounger 
fellows, and at the same time we 
have not lost sight of the matured 
master in arranging our type faces 
with a story continued through the 
differentspecimens. Read itthrough. 
Perhaps the time will be well spent. 

If you do find this little booklet of 
interest and convenience, if you find 
it of any value whatever, then it will 
have served its mission. 

Your typographic servants, 

Phillips &Wienes 


February , 1920 








SPECIMENS 

On each left-hand page 
for the balance of this 
book we show specimen 
advertisements that will 
give you a better picture 
of how the different type 
faces look in actual use. 

Some of them are excel¬ 
lent examples of layout 
and can be adapted to al¬ 
most any copy, or can be 
enlarged proportionately 
and look every bit as well. 

Others show the limita¬ 
tions of space and contour 
with which we were 
handicapped and we ask 
you not to be too critical. 

PHILLIPS & WIENES 

TYPOGRAPHIC SERVANTS 


Set in Cheltenham Bold and Bookman Old Style 





Goudy Old Style 


Six Point is the smallest size of Goudy Old Style. 
While it is made in larger sizes, as you will 
notice below and on the following pages, its very 
character will hardly permit of a greater reduc¬ 
tion than six point. If this letter were made in 
three point face we would certainly have it be¬ 
cause we believe it is the finest letter ever designed 
by Mr. Goudy, or anybody else. It is one of those 
letters that one never grows tired of seeing and 
using. In fact, until you have studied it carefully, 
have worked it up in many different advertise¬ 
ments, you cannot begin to realize its real value. 


It is, without a doubt, one of those 
very few letters that will permit of a 
number of different spacings. You can 
lead it, double lead it, set it solid, wide 
space, thin space, and even letter space 
it, and still its character will stand up. 
The advertising man’s dream is nearer 
realized in this letter than in any other, 
because it can be squeezed or stretched 
to fit almost any kind or size of layout. 


With Goudy Old Style for the 
text and Goudy Bold for display 
one can get some beautiful, pleas' 
ing and power - pulling results 
for either your magazine or your 
newspaper advertisements. The 
letter is not too delicately cut for 
newspaper work, yet for magazine 
advertisements it has no equal. 


Page Five 


\ 


6 Point 


8 Point 


10 Point 






The Agency’s 
Utopia 

Th e Advertising Agency’s 
ideal utopia is having 
its own composing room 
and force of really expert 
advertising compositors . 

There are but about four or 
five Agencies in the country en¬ 
joying this expensive blessing. 
Others have tried it, but, like 
most ideals on Utopia, it failed. 

We do not boast when we say 
that the only difference in serv¬ 
ice between us and your ideal 
composing room is the location. 

No better quality or service is 
to be had, and the cost is much 
less than were you to produce 
it yourself. That’s why we are 
so proud to call ourselves your 

Typographic Servants 


Set in Goudy Bold, Goudy Old Style and Goudy Italic 






Goudy Old Style 


Wherever you may see an ad- 12 p °'"* 
vertisement or some printed 
matter set in Goudy Old Style 
you’ll find it quite readable. 

It will never tire the eye no 
matter what the size may be. 

We are not press agents UPo '"' 
for Mr. Goudy or for 
the Type Foundry; nor 
do we own Goudy Old 
Style, but we do like the 
type; so do our clients. 

We know, for these 18 iw 
reasons, and a dozen 
others, surely you’ll 
not complain at our 
praising this letter. 

Page Seven 










The Biggest Little Shop 
in the city for Adclass 



Service 

BECAUSE 


we are small enough 
to give each advertise¬ 
ment that individual 
attention and thought 
so very pronounced in 
the finished product; 


BECAUSE 


we are not so big but 
what we can study 
your individual likes 
and dislikes, and in¬ 
corporate them inside 
or outside of your ad. 



Set in Cloister Bold Italic and Goudy Bold 



Goudy Old Style 


To the uniniti¬ 
ated, Old Style 
might imply the 

face is one of 
the older cut 
type faces. To 

those let us 
assure that 








Telephone Service 

MADISON 

SQUARE 

5364 

I N this day and age of busy busi¬ 
ness there is no place for a typo¬ 
graphic servant who demands your 
age, the color of your hair, how long 
you want to talk, what you want to 
talk about, and what size hat you 
wear, before they will connect you 
with the person to whom you wish 
to speak. Phillips & Wienes do not 
care about all these details and they 
are not afraid to talk to anyone. They 
are never “out” for fear of getting a 
“call-down.” They are always on the 
job, day or night, and there is not an 
individual in the whole plant but who 
can and will willingly talk to you 
about your typographic troubles. As 
a rule a man’s telephone time is his 
most valuable and we don’t waste it. 


Set in Bookman Old Style 










Goudy Old Style 

it really is 

42 Point 

the most 


latest of 

48 Point 

designs- 


? THIS 

48 Point 

Page Eleven 









No Matter 
Where You Are 
We Are 
Close to You 

Our efficient and reliable messenger 
service makes us next-door neighbors 
to all agencies. We have always a 
messenger ready to answer your 
beck and call. Within less time than 
it takes to tell it, after you have 
sent in a request for a messenger, 
the boy is on his way to your office. 
And that boy is the only kind of 
messenger we will employ— he is as 
punctual as the landlord on the first 5 
as trustworthy as a bank clerk and 
as reliable as the clock itself. You 
can always feel assured when giving 
a package to one of our messengers 
that there will be no delay in get¬ 
ting it into our hand,—and in first- 
class condition,too. Each and every 
one of our messengers is a cog in 
the Typographic Servant Wheel of 

PHILLIPS &WIENES 

Typographic Servants 


Set in Caslon Bold and Caslon Old Style 











Caslon No. 540 


Goudy Old Style is buta fewyearsold. ThenameOld Style 
merely meaning that it is cut along the old style lines. 
... In turning through this little booklet you’ll find a few 
small advertisements which are set in Goudy Old Style 
and Goudy Bold. These little ads are not claimed to be 
masterpieces of typography, but have been prepared with 
the sole purpose of showing you at a glance just about 
how your advertisement will look set in a certain kind of 
type . .. .Unless you really know the value of type to your 
advertising—unless you are quite familiar with various 
sizes of type and the proper use of balance—you should 
never tell your typographic servant just what size to use. 


Inflexible instructions as to the exaCt size, 
ofttimes confuse the compositor; and the 
chances are a hundred to one that the 
finished advertisement will not look like 
the picture you had visualized. If you 
have certain ideas of your own and wish 
to incorporate them into your ad you had 
better consult your typographic servant 
and tell him just as near as possible what 
you wish and let him use his judgment. 

In that way you will get nearer what 
you want if you do not know exadfly 
how to mark up your copy as to 
faces and sizes. Depend upon him 
to give you the best. Place your 
confidence in him and give him a 
little bit of latitude and you will be 
surprised to see what he can do with 
even the most difficult kind of copy. 


Page Thirteen 


6 Point 


8 Point 


10 Point 










vjv^/w/jwwww/w/w/ywwjvw/ 

■5 

Rush! Rush! 
Great Rush! 

The man who has spent a 
few weeks, or a few days, 
yes, even a few hours, in 
the business end of a busy 
business, smiles the smile 
of relief when he spies 

Rush! Rush! 

on your order, for RUSH 
merely means “hurry, but 
take your time.” When 
you make out an order 
and want the job at a 
certain time, put that time 
on your order, but for the 
love of P&W don’t write 

Rush! Rush! 
Great Rush! 

.%V.%V.W.V.W.V.W.%%W.Vli\% , V\W.%V.V.V.V. 

Set in Goudy Bold and Century 




Caslon No. 540 


There are just two kinds of 
typographic servants — one 
understands the business and 
the other doesn’t. Seledl the 
one who understands your 
business and let him go to it. 
It costs a great deal less and 
the results are one hundred 
per cent greater when the 
ad is finished, because he 
knows and can give the best. 


12 Point 


11 ’s up to you to get the “ 
best for the money you 
spend, no matter who 
pays the bills. Everyone 
owes this much to him¬ 
self, and the fellow who 
takes anything but the 
best pays for less than 
his money will buy him. 


Page Fifteen 






^Day Or ^Slight 

Often you have an 
advertisement (or sev¬ 
eral of them) ready late 
in the day and must 
have proofs first thing 
in the morning. Call us 
up and tell us what you 
want. We can give you 
those proofs. Our night 
force is just as compe¬ 
tent as our day force, 
which is saying more 
than can be said of other 
Typographic Servants. 

We c Do It l^ight 


Set in Cloister Bold Italic and Bookman Old Style 










Caslon No. 540 


So, just to show as 
an example of the 
waste of chucking a 
bluff in a produc¬ 
tion department of 
a regular advertis¬ 
ing agency we will 

tell you about 
an old friend 
of ours who 
once said to 
us: “Give me 
a type which 







Broken promises 
pay no dividends 

IlllllllllllllJIIIIIIIIIIIIIIIIIIIIHIIIIIIIIIIIIIIIIIIIIIIIIIIIillllllllllllllllillllllt 


y 

Jc\ 


OU can't find one of our 
clients who will admit 
we ever broke a promise 
he allowed us to make. 

We fully realize the sig¬ 
nificance and broadness 
of this grave statement. 
We believe there is not 
an other typographic servant 
in the city who can truth¬ 
fully say as much. 

Keeping promises is a 
thing sacred with us. We 
value a promise as much 
as we do a client. 

As in the past promises 
will not be broken by us. 


Promises Kept Keeps Clients 


Set in Caslon Old Style 



Caslon No. 540 

is very 

Classy 

for ads 

orjob 

work. 

Page Nineteen 






^ 1111 1111111 111111111111111111111111111111111 ■ 1111M11111111111111 till 11111111 

oA'Day and^Night 
j Service \ 

1 ♦ I 

I Th E SAME careful day-time i 

attention given your composition = 

I is also given to it at night-time. | 

1 Whatever the position of the sun, i 

I be it standing, setting, beaming i 

I upon the bean-fields of Borneo, 1 

I or broiling the broilers on Broad- § 

= way, Phillips & Wienes are | 

I doing composition. If you can’t | 

i get your copy ready before mid- i 

= night, send it in then and get 1 

I your proofs in the morning. To | 

= insure our very best attention, = 

however, we advise that you get 1 

1 your copy in before six o’clock, | 

or, if this is not convenient, give i 

us a telephone call so that we | 

can provide for your composition | 

when it does come. And this 
additional service will cost you 
no more. Take advantage of it. I 

1111111111111111111111111111111.11111111111II111M1111111111111111111 It 1111111111111111111111111111 


Set in Cloister Bold Italic and Bookman Old Style 




Bookman Old Style 


“Set the heading in 14 point and the text in 10 
point type. Put a 13 point rule around the 
whole advertisement. Do not use any leads.” 
He has long since withdrawn from the ad¬ 
vertising field and gone back to the farm. 
We did our best to get in touch with this 
good - intentioned fellow, but luckily or un¬ 
luckily we never knew which,we were unable 
to find him. He had gone to the movies for the 
afternoon and that proof must be on his desk 
by nine the next morning. We set the head¬ 
ing in 36 point and the text in 14 point type. 


We put a 4 point rule border around it 
and made it a respectable looking ad. 
Afterwards he called at the office to com¬ 
pliment us upon the manner in which 
we followed his layout. But when we 
explained how near he came to guess¬ 
ing the right sizes and just how closely 
we really had followed his layout, he 
told us he could chop more wood than 
any two men in Hooppole township. 


That didn’t prick our vanity at 
all. He was a really pleasant 
fellow but woodchopping and ad 
setting are two different branches 
of business entirely... .We have 
never questioned his ability as a 
woodchopper.... If you have any 
sizes and measures in mind make 
them elastic, or don’t mark any. 


Page Twenty-one 


6 Point 


8 Point 


10 Point 






Our Layout 
Department 

An artist can make a beautiful 
layout, but when it comes to 
fitting type into the layout— 
well—about once in ever so 
many times it can be done. 

When you are short of time, 
or short of ideas, just shoot 
your copy over to us without 
a layout and we will do the 
rest. While we do not solicit 
layout work we are prepared 
to make them, and do make 
a great many for our clients. 

Our layouts are not made for 
the purpose of selling the ad¬ 
vertisement to a client before 
the type is set, but rather to 
fit the copy you furnish into the 
space alloted, with proper dis¬ 
play and balance from an ad¬ 
vertising man’s point of view. 

PHILLIPS & WIENES 

TYPOGRAPHIC SERVANTS 


Set in Cheltenham Bold and Bookman Old Style 








Bookman Old Style 


Give the typographic serv- l2Point 
ant some latitude and you 
will get service. Tie him to 
a post and he will go down 
with you. Remember, the 
good typographic servant is 
a narrow minded individual. 

All he knows is adver- 14 * w 
tising composition. He 
lives in it—has spent his 
life in it—will die setting 
type. Perhaps you have 
dubbed us fault finders. 

But we do believe I81, °' nt 
you don’t mind, if 
in pointing out a 
fault, we help you 
save some money. 

Page Twenty-three 






' 11111 n 11 


iiniiiinniniiiniiiiiiiiiiiinmiimniifTTTn 


An Ad Pleasing To Look 
At Will Win Many 
More Readers 

Th E display and typog¬ 
raphy of the advertisement 
is what attracts the reader. 
Good copy can be made well- 
nigh worthless by a poor 
presentation. And poor 
copy often brings results be¬ 
cause it is set attractively. No 
matter what the size of an 
ad it deserves the most care¬ 
ful study for the salient fea¬ 
tures and how they should 
be presented, before it is re¬ 
leased for publication. Then 
have it set by the best typo¬ 
graphic servant you can find. 

Phillips <Sl Wienes 

TYPOGRAPHIC SERVANTS 


. .. 


Set in Goudy Bold 







Century 


Whether you like us to find fault or not, we are pleased to 
have you point out our faults. If you hadn’t done this very 
thing we never in the world would have been able to give you 
the service we are able to give you. You never hesitated to 
tell us when we displeased you, and you never told us but once. 
Since that day we nave watched our step and followed the 
black line you mapped out for us. We pride ourselves on never 
being called up twice to be called down on the same subject. 


The production manager or understudy who cheats 
himself most is the fellow who makes every job a 
big rush. The fellow who makes his own ridiculous 
promises from his typographic servant--these are the 
fellows we would like to give a little fatherly advice. 
We don’t know who the fellow was that chiseled those 
hyroglyphics when interpreted read: “Haste makes 
waste.’’ But we do admire the man’s levelheaded¬ 
ness. He must have been an advance agent of the 
present advertising man. What a pity more of the 
late generation have never heeded this friendly logic. 


Surely, if there is a place on earth where this 
old saying fits it is right here in your line. 
Many times we’ve had to use up several hours 
to get out an advertisement that could have 
been handled in the regular way and saved a 
wonderful amount of time, besides it would 
have been gotten up in a workmanlike manner 
rather than the loose appearance of rush work. 
Of course your typographic servant will gladly 
do anything within his power to accommodate 
you, but some fellows will not give him time. 


And these same fellows insist upon 
this unwise and very expensive speed 
on every bit of work they have, no 
matter if they do have a whole day, 
and sometimes two, in which to sub¬ 
mit the proof. This kind of work 
usually necessitates a number of re¬ 
vises and the time piles up on them 
very rapidly and with the usual result 
that the final proof lacks the punch 
we all like to see in an advertisement. 


Page Twenty-live 


4 Point, 


5 Point 


6 Point 


8 Point 







s ome products 
1 permit the 
use of rather 
delicate and orna¬ 
mental borders. A 
Type Border, such 
as the one used on 
this page, usually is 
made in a number 
of sizes, and if skill¬ 
fully handled, often 
looks quite as well 
as a drawn one, and 
is much less costly. 


PHILLIPS &.WIENES 

Typographic Servants 


Set in Goudy and Goudy Bold 




















Century 



Besides this there is about four 
times the amount of charge¬ 
able time on the job than there 
should be and, at that, the client 
has not received his proof one 
minute sooner than had the ad¬ 
vertisement been put through 
in the usual routine manner. 

10 Point 


There are times, of course, 
when quick action is neces¬ 
sary, and when such times 
do arise you will find no one 
more anxious to assist you 
than the firm who poses as 
your Typographic Servant. 

12 Point 


It’s the chronic speed- 
kings we would pinch, 
place on the big pillory 
of eternal shame, and 
eventually cast down 
into perdition forever. 

14 Point 


Past Twenty-seven 








... .. 


“Cooty” Type 

tickles the fellow who 
writes the copy because 
he knows he can put a 
whole dictionary and a 
couple of bibles into the 
smallest space you can 
imagine. But when the 
compositor sees “cooty” 
written on his copy it 
gives him a shivering or 

Itching Sensation 

akin to that experienced by 
the boys in France — the only 
difference is the compositor 
itches for the opportunity to 
choke the life out of the par¬ 
asite who ordered * ‘Cooty. ’ ’ 


DEFINITION of “Cooty” type:- (not found in the dic¬ 
tionary)— “Cooty’ ’ type means four or five point type, 
one of the smallest types used in modern advertise¬ 
ments. This name was originated by one of the best 
layout men inNewYork. He called it ‘Cooty” because 
he always felt “creepy” every time he had to ask his 
typographic servant to set an “ad” in this small type. 


Set in Goudy Bold and Century 




Goudy Bold 


One of the biggest losses in ad composition is 
directly traceable to the copywriter. In a great 
many cases this fellow has but a vague idea or 
what he wishes to say until he sees his com¬ 
position set up in type, then, and only then, 
does he really realize just what he has to say. 
Of course this is not true of all writers, but 
there are so many of them doing it every day 
that we want to call it to your attention. You 
wonder of course what business it is of ours to 
tell you how you should prepare your copy, 
sinceyoupay for corrections you haveusmake. 

We do not like to make a single altera¬ 
tion in an advertisement that can 
possibly be avoided, as all changes 
and alterations make our time run 
into money that you cannot see in 
the finished work. While alterations 
pay us the same as composition and 
we will gladly make them for you, we 
feel that very often a greater part of 
this waste could easily be avoided. 


The copywriter ought to revise 
all his copy thoroughly before 
sending it to the Typographic 
Servant. We realize there are 
times that no author can see 
all his errors in the manuscript 
or the typewritten copy, but 
can, when a printed copy of 
his work is laid before him, 
see all mistakes standing out 
like great big bumps on a log. 


Page Twenty-nine 


6 Point 


8 Point 


10 Point 






All Hand-Set 
vs. Machine-Set 

Short-cuts and imitations are 
usually more expensive in the 
long run. That is why we set 
by hand all our type—which is 
cast by the type foundry from 
the original, copyrighted dies. 

Machines may be a bit speedier 
in the first composition, but all 
alterations from the original 
setting must of necessity be 
made by hand, and the correct¬ 
ing of a machine-set advertise¬ 
ment is a slow and tedious 
process. With but few excep¬ 
tions, the machine-set letter 
is a very poor imitation of the 
original. Especially does this 
hold true of the modern faces. 

No discriminating type man 
will accept machine-set type. 
Insist on getting foundry type. 

Verdict: 

All Hand-Set 


Set in Goudy Bold*and Century 











Goudy Bold 


That is the one exception 
— eliminate it to cut cost. 
Much of this lost motion 
can be laid to the fact that 
even the copywriter hasn’t 
time to prepare his copy. 

Wherever the fault lies 
it should be corrected 
and it can easily be 
remedied without any 
great amount of effort. 

The correction of 
this one little item 
alone will greatly 
reduce the annual 
composition bills 
of most agencies. 


Pane Thirty-or 






Electrotypes 

If you don’t know how 
electrotypes are made don’t 
make yourself the laughing 
stock of everyone who reads 
your instructions by stating 
that you must have them in 
a physically impossible time. 

No electrotype is really fit for 
even the most common kind of 
newspaper work under a 4-hour 
bath to make the shell. It ought 
to have at least 6 hours. If the 
electrotypes are to be used for 
printing they should have at least 
an 8-hour shell—12-hour is better. 
Add to these periods one hour 
for moulding and another for 
finishing and you may know when 
to expect the electotypes after the 
form has reached the foundry. 

PHILLIPS &WIENES 

Typographic Servants 


Set in Cloister Bold Italic, Goudy Old Style and Goudy Bold 







Goudy Bold 


A number of 
agencies do it* 
Always, there 

are enough 
illegitimate 
alterations; 

you must 
eliminate 








Why a 

Saw-Trimmer? 

Why a Miller Saw-trimmer? 
Because it is one of those 
products that has reached 
the enviable position where 
the name is synonymous 
with the product. No typo¬ 
graphic servant or printer 
ever thinks or speaks of just 
a saw-trimmer —it’s always 
The Miller Saw-trimmer. 

Neither man nor man-made 
things achieve such honors 
unless they function just a 
little better than necessary. 

The uses of this machine are 
too numerous to mention 
here, but it is a part of our 
equipment to help give you 
the kind of service that can 
not be measured in dollars 
and cents. 

PHILLIPS & WIENES 

Typographic Servants 


Set in Cloister Bold Italic and Goudy Bold 





Goudy Bold 

so much 
author’s 

correc¬ 
tions to 

profit 

Page Thirty-five 






Your Proofs 

Most typographic servants 
and printers regard proofs only 
as a necessary evil, and, as a 
result, they seldom are well 
printed, and nearly every set is 
on a different kind of paper. 

But proofs from us are their own 
proof of their distinctiveness. 

Every proof we send out is 
printed on the same color and 
weight of best standard paper, 
is done on a cylinder hand proof 
press, or are actual press proofs. 

Even the roughest proof you 
get from us is a good one, and 
if you ever need to make up a 
portfolio of a client’s proofs, or 
that of several clients, you will 
have a perfect match of proofs. 

Standardized Proofs —it doesn’t 
sound much, but is just one of 
the big little features of our 
better than necessary service. 

PHILLIPS & WIENES 

TYPOGRAPHIC SERVANTS 


Set in Cheltenham Bold and Caslon Old Style 














Cheltenham Bolel 


The principle which this business is founded 
upon is not what might be called modern, up- 
to-date, or ahead of the times. It is a principle 
almost obsolete among big businesses today. 
Phillips & Wienes’ foundation is built upon 
the good old-fashioned golden rule: “Do unto 
others as you would have others do unto you.” 


No mistake was made in adopting this 
principle at the beginning, and we shall 
adhere to it so long as there is a piece 
of type to set in the P & W plant. We 
believe in the old principle; we know 
that it is not overworked in this field. 


We believe it the only principle 
upon which to lay the founda¬ 
tion for a permanent business; 
that the time is at hand for 
even more businesses to use it. 

We believe businesses must 
be conducted upon this one 
principle; that any business 
otherwise, is out of accord. 

Any business operating 
on any other principle 
cannot attain success. 


Page Thirty-seven 






<^lfatS and 

Stereotypes 

Making Mats and Stereotypes is 
a quicker and cheaper process 
than the making of electrotypes, 
but it takes more time to prepare 
advertisements for mat-making. 
The electrotyper first must make 
a pattern electrotype — and that 
plate should have a 12-hour shell. 

Mats are not made from the type 
form because the modern mat- 
maker makes mats with a steam 
press, which, because of its great 
heat and pressure, ruins the type. 

Under stress of circumstances we 
will allow your maGmaker to use 
our type form, but we must make 
a charge for the type. This makes 
speed very expensive as the cost is 
not of the type in the form, but 
for complete fonts, as that is the 
only way that we can replace it. 

PHILLIPS & WIENES 

Typographic Servants 


Set in Goudy Bold and Goudy Old Style 







Cheltenham Bold 


They may flourish 
a while, but must, 
in time, follow the 

law of nature- 
witherand die. 

So, we have 
cast our lot 

with these 
principles 






Below are a few 
of the many Ads that 
we have set for 

Our Clients 

♦ 

Armstrong’s Linoleum Clemons 
Disston Saw Fashion Publicity 

Columbia Graphophone Goody 
Dictaphone Crown Embroidery 
Balch-Price Company Auto-Strop 
Fur Exchange Wear-Ever Utensils 
Hammermill Bond Charvet et Cie. 
Rival Shoe The Hilton Company 
Lackawanna Twins John David 
Steero Johns-Pratt Company 

Palm Beach Suits Globe Rubber 
Lustrite Chalmers Automobile 

National Biscuit Lord & Taylor 

Pompeian Goodell-Pratt Company 
Manhattan Rubber Truly Warner 
Ravenhue Wearpledge Clothes 

Secret Service Auto Lock Crane 
Model Brassieres Geneva Cutlery 


Set in Cheltenham Bold and Goudy Bold 






Caslon Bold 


There we propose to stay so long as our 
friends and clients will let us. Just as a 
matter of fact, we haven’t the wit, ability, 
nor inclination to follow any other course, 
so, quite naturally, we have taken the well- 
beaten path of the very least resistance. 


We’ve been enjoying, and hope to 
continue to do so, an environment 
most beneficial to peaceful solitude, 
where we are enabled to give forth 
our best efforts without treading 
upon the toes of our competitors. 


While we are a few thou¬ 
sand years behind the times 
in business principle and in 
business practice, you’ll find 
our workmanship above par. 

In every line of business, 
in every community, it 
is up to someone to take 
lead and give a little more. 

A little better than 
that which is neces¬ 
sary pays dividends. 


Past Forty-one 







EXCERPTS FROM LETTERS 


Ahead of Promises 


is only natural , then , 
that I shall come to you for 
composition , and hope to get 
the same service that you 
have been giving us here. 

I don't care to go into detail 
as to the quality of your com¬ 
position — but no one in New 
York does better, if so well y 
and you generally better your 
promises on time for proofs. 

'This kind of service can only 
bring you most of the better - 
grade of advertising compo¬ 
sition done in New York. . ." 

♦ 

. . Your work is OK . . 


ORIGINALS ARE IN OUR FILES 


Set in Goudv Bold and Caslon Old Style Italic 





Caslon Bold 


If this were not 
the case in print¬ 
ing it would not 

be very long 
till the great 

art would 
be almost 

an art of 
the past. 






EXCERPTS FROM LETTERS 


Best Composition 

. . I am getting good compo¬ 
sition . . . this composition is 
done by Phillips & Wienes, 
160 East 25th Street. These 
fellows loose their work. They 
know how to put in the little 
touches, especially spacing , 
that stamp their work with 
the hallmark of quality. 
They are doing better compo¬ 
sition than any I know of. . . ” 

♦ 

“Am still waiting for you to 
disappoint me on promises. In 
fact,your boys and proofs ap¬ 
pear as if by magic . 

♦ 

“. . . 1 like your stuff. . . 


ORIGINALS ARE IN OUR FILES 


Set in Goudy Bold and Caslon Old Style Italic 





Franklin Gothic 


The human desire in most men of today is so 5 Point 

strong that but few strive to be the BEST Typo¬ 
graphic Servant. They are so engrossed with 
their bank balance that they have no regard for 
the future of typography. P & W are diligently 
courting this position, and judging from the flir¬ 
tatious glances we are winning our laurels. 

A volume of business does not 8Foint 
satisfy us—that seems the easiest 
thing in the world to get—we want 
the best, and are perfectly will¬ 
ing to let volume come as it will. 

It takes us no longer to 
set good composition 
than itwould to set poor 
composition—and then 
results, and the satisfac¬ 
tion to us are so great. 


A satisfied client, 
to us is so great an 
asset we have no 
hankering for com¬ 
position that does 
not come up to the 
highest standards. 


14 Point 


Page Forty-Jive 







EXCERPTS FROM LETTERS 


First Set-up Usually 
OKed 

. . oaves you a great deal of 
appreciation for not only your 
excellent services, but for the 
«■workmanship and co-opera¬ 
tion your organisation has 
shown on ads which you 
have handled for us. 

An organisation such as yours 
is of great help to an adver¬ 
tising agency, especially when 
time is essential, because after 
an ad is set by you it is gen¬ 
erally OKed when showing 
first proofs, eliminating au¬ 
thor's corrections which are 
not only expensive but ofttimes 
proves vital in lost time. . 

♦ 

‘ ‘. . . I like your service. . . ” 


ORIGINALS ARE IN OUR FILES 


Set in Goudy Bold and Caslon Old Style Italic 





Goudy Old Style Italic 


Italic type is used to emphasize some particular word, 
phrase or sentence. But we are going to use it to show 

all the different faces of type we carry that 
is made in the italic characters. Usually, 

people save the better part of their 
story for the last few pages when 

they tell us all about how they 
“lived happily ever afterwards / 9 

Not so with us. But as a 
matter of fact we had no 

idea that you would 
read all the fads we 

are putting into a 

booklet of this 

odd nature. 


Page Forty-seven 










For Dominant 
Display 

Get dominating display, 
not by using the largest 
and boldest possible, but 
with common sense selec¬ 
tion of types and borders, 
and the judicious use of 
white space and balance. 

Such advertisements often 
are not very pleasing to 
look at, but when placed 
in a position surrounded 
by the awful stuff in most 
all newspapers, the dom¬ 
inance proves its worth. 

PHILLIPS & WIENES 

Typographic Servants 


Set in Cheltenham Extrabold, Bookman and Franklin Gothic 



Caslon Old Style Italic 


Hud we known you zuould do this little tiling tue certainly 
zvould have taken more pains in making it more interesting , 

but , alas , 'Tue find voe are no-uu nearing 
the end of our story and the villain still 

pursues her and the hero is hut a mere 
advertising man putting in many weary 

hours thinking up some new 
way to sell a lot of goods thru 

the printed page. After 
ally he is merely thinking 

along the same lines 
of his old ancestors. 

There is little 

new under 

an old sun 


Page Forty-nine 


6 Point 


8 Point 


10 Point 


12 Point 


14 Point 


18 Point 


24 Point 


30 Point 


42 Point 







aiiiiiiiiiiiiiiiiillllllllllllllllllllllllllllllllllllllillllllllliiillllllllimilllllllllllllllllllllllllH 


Italics 

WHEN IN DOUBT 

DON’T USE THEM 

/talic types often are very 
good to use for an occasional 
display line, because they 
break up the monotony that 
sometimes occurs with the 
use of all roman letters, and 
relieve the eye of the reader. 
But the use of italics through 
text matter, except for for¬ 
eign phrases, etc., is more a 
habit than necessity. 

When the copy writer under¬ 
scores words of his copy for 
italics it is pretty safe to 
wager that it is weak copy 
and, no doubt, should be 
rewritten before being set. 

Discourage Promiscuous 
Use of Italics 

PHILLIPS & WIENES 

Typographic Servants 


Tiiiiiiiiiiiiiiiiiiimiiimiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiimiiiimiiiiiiiiiiirr 


Set in New Caslon Italic and Century 











Bookman Old Style Italic 


In bygone times, Jeremiah Perkins, lead¬ 
ing merchant of the old home town, had his 
troubles disposing of his wares. Having a 
better eye for business than his competitors, 
he summoned the town-crier, slipped him a 
two-bob piece and whispered a word in his 
ear. After the authorized newspeddler had 
summoned the townspeople to acquaint them 

with the activities of the Indians and 
announced the fluctuation of the slave 
market, he casually added that the 
store of Jeremiah Perkins had a very 
large stock of swell silks and a half 
ship load of teas, spices and flint- 


rocks, all of which they would 
sacrifice at less than cost on 
the following day. . . Jeremiah 
had the right dope even in those 
old days, hut his methods were 

crude. Nowadays when 
a merchant has anything 
to sell he calls in a real 
advertising agent to get 

up some real, honest - 
to-goodness advertis¬ 
ing to sell his wares. 


fare ti fly -one 


6 Point 


8 Point 


10 Point 


12 Point 


14 Point 






Wise Men Consider 
Value As Well 
As Cost 

TV E have a client who seldom ever 
marks any alterations; but now and 
then we receive instructions to scrap 
the original setting and reset to an 
entirely new layout. Our curiosity 
got the better of us one day and we 
asked why. This is what we learned : 

“ Before we send copy through for setting 
we study it from every angle, and we feel 
pretty sure that what we asked for is the 
right thing; but when we see the proof we 
discover our mistake and don’t hesitate to 
reset the ad. 

“in the eyes of most men this is only a 
waste of money, but, if in making it a bet¬ 
ter looking ad we are able to attract a few 
more readers who eventually become cus¬ 
tomers, the resetting soon is paid for. 

"We probably are different than most 
people in that we believe only the best to 
be had pays good dividends. 

“ We always weigh value against cost, and 
value, at value’s price, usually wins.” 

PHILLIPS & WIENES 

Typographic Servants 


Set in Cheltenham Bold and Caslon Old Style 












Century Italic 


The agent turns to Phillips & Wienes to do real advertising 
composition--for we are really his Typographic Servants. 
The history of advertising is very interesting. It has been 
traced back as far as the Roman days and even to ancient 
Egypt. In America, however, the first newspaper advertise¬ 


ment appeared in the Boston News Letter in 170J>. 
After this, advertising began to grow in leaps. With 
the introduction of steamboats, railroads, the postal 
system, the telegraph and the telephone, the auto¬ 
mobile and the aeroplane, advertising has made new 


strides. The early growth of advertising was 
checked somewhat by the low class of the adver¬ 
tisement. Newspaper and magazine pages were 
overrun with advertisements of quacks, swind¬ 
lers of all kin ds to such an extent that respons¬ 


ible firms were unwilling to advertise 
through the press. By 1880 better and 
more reputable interests had changed 
this condition considerably. Later on 
the Federal Government inaugurated 


a most vigorous crusade against 
swindling advertisers , denying 
them the use of the mails for 
conducting their Con schemes. 
During the past feiv years the 

real Associated Advertising 
Clubs of America have done 
much to insure the relia¬ 
bility of advertising . They 
demand the truth always. 


P,ise Fifty-three 


4 Point 


5 Point 


f> Point 


8 Point 


10 Point 


12 Point 









We Are Not Job 
Printers 

ur life’s mission is 
purely that of typo- 
ItfgM graphic servants. A 
8 reat many of our 
clients, though, have 
us do job composi¬ 
tion for them, from small cards 
to booklets of many pages, from 
which they make electrotypes 
for the printer who is to do the 
actual printing. 

It costs little, if any, more to 
have us do the composition, 
and we know that no printer 
anywhere, does better. Only 
few can equal it. 

If you do not know a Book 
or Job Printer who can give 
you the Quality Composition 
we offer, let us do it. All print¬ 
ers are only too glad to elimi- 
natecomposition and willingly 
figure without it. 

PHILLIPS &. WIENES 

Typographic Servants 


Set ill Goudy Old Style 







Cloister Bold Italic 


There is a 'vigilance committee who 
co-operates 'with similar committees 

of individual clubs. Today, as a 
result of the varied activities of 

clubs and individuals , many 

states have made laws 

penalizing frauds, 

misstatements, 

exaggerated 

values, etc. 

for truth. 


Page Fifty-jive 






aiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 

t. 

| 

Our Presses 


| 

Since we do no printing aside 

1 

E 

from press proofs and proofs 

= 

E 

for reproduction, and the like, 

| 

E 

naturally our presses are used 

1 

E 

for this purpose only. They are 

= 

1 

always open—always ready to 

= 

E 

put on a form for reproduction 

= 

| 

proofs without being delayed by 

= 

1 

washing up, making ready, etc. 

| 

E 

We believe, although we are not 

I 

E 

absolutely positive, that we set 

| 

E 

more advertisements and pull 

| 

E 

more proofs for the rotogravure 

| 

E 

sections of the Sunday papers 

= 

E 

than any typographic servant in 

= 

E 

America. We are especially 


E 

equipped for this class of work, 


1 

and as our type is all foundry 


E 

type, always clean and keen, 


E 

the advertiser naturally will get 


| 

better results from this high - 


E 

class - high - priced advertising. 


E 

PHILLIPS &WIENES 


1 

Typographic Servants 


r< 

. . . 



Set in Goildy Bold and Casio)) Old Style 



Cheltenham Bold Italic 


The laws together with the energies of indi¬ 
viduals, publishers of good periodicals and 

magazines, good advertising Agencies 
and Typographic Servants who love 

the work above the almighty 
dollar, have placed American 

advertising on a plane that 
was never equalled before. 

And in advertising, as 
most everything else, 

America is much 

ahead of any 

country 

extant. 


Page Fifty-sevt 








Why? 

The business we did in 
the first five months has 
been five times greater 
than we hoped to do in 
the first two years. Be¬ 
low are eight reason¬ 
able reasons why: 

First —There was a greater 
demand for better advertis¬ 
ing composition than w e 
had dreamed of. 

Second —Our service from 
the very beginning v\ as so 
much better than agencies 
had been accustomed to. 

Third —We frankly refused 
to accept composition we 
couldn’t produce on time. 

Fourth —We kept all prom¬ 
ises we made. 

Fifth —Honest billing that 
brings only an honest profit. 

Sixth —A messenger service 
above par. 

Seventh —The best compos¬ 
itors in the city. 

Eighth —Our composition is 
better than most others’— 

Best! 


Set in Goudv Hold and Century 







New Caslon Italic 


For quality and quantity of 
advertising, there is scarcely 

any ground for fair 
or just comparison. 

Advertising is 
publicity. It is 

the means of 
causing to be 

circulated 

this book 

Page Fifty’nine 


12 Point 


18 Point 


24 Point 


30 Point 


30 Point 


42 Point 






BRASS RULE 

A Good Rule To Go By 


All the borders shown in these 
pages were made of combinations 
of all brass rule, with the excep¬ 
tion of two or three type borders 
that are in combination with 
brass rule. 

The combinations will enlarge 
proportionately to fit any space, 
but if you have any other com¬ 
bination in mind consult us, and 
if it can be done, we’ll do it. 

We do not use rules made by 
the various typesetting machines. 
Such rules usually are soft or 
brittle, the corners seldom join 
and the faces very often are full 
of pin holes and air bubbles, 
which show when printed. 


PHILLIPS & WIENES 


Typographic Servants 


Set in Cheltenham Bold and Bookman Old Style 









Brass Rules 


FACE RULE 
H Point 
1 Point 


2 Point 


3 Point 


4 Point 


6 Point 



12 Point 


L1THOTONE 

2 Point 

IIIIIIIIIIIIIIIIIIIMIMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIHIIIIIIIIIIIII' 

3 Point 

llllllllllllllllllllllllllllllllllllllllllllllllililillllllllllllllllllllllllllililllliMIIIIIH 

4 Point 

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiin 

6 Point 

CHECKERBOARD RULE 
2 Point 


3 Point 


4 Point 


6 Point 


Sixty-out 





















Our product is one that can 
not be trade-marked, but we 
believe that every business 
should have its mark and 
show it wherever possible. 

And that mark ought to be 
considered as is the personal 
character—not to be trifled 
with,compromised, belittled. 

It should be a silent assur¬ 
ance that its owners are ever 
faithful to worthy ideals. 

PHILLIPS &WIENES 

Typographic Servants 





Set in Goudv Old Style and Goudy Bold 












Borders and Ornaments 


6 Point Running Border No. 2 

6 Point Border No. 54 


m 


6 Point Engravers Border 



SB®®®®® 

12 Point Cast Squares 


12 Point Gray Open Square Border 




18 Point Linear Border 


<■> *J* rA*/^ 1 


18 Point Border No. 1846 



Payee Sixty-three 

































































































INDEX 

* PAGE 

Bookman.21-23 

Bookman Italic.51 

Borders.63 

Brass Rule.61 

Caslon Bold.41-43 

Caslon Old Style . . 13-15-17-19 
Caslon Old Style Italic ... 49 

Century.25-27 

Century Italic.53 

Cheltenham Bold .... 37-39 
Cheltenham Bold Italic ... 57 

Cloister Bold Italic .... 55 

Franklin Gothic.45 

Goudy Bold . . . .29-31-33-35 
Goudy Old Style . . . 5-7-9-11 
Goudy Old Style Italic ... 47 

New Caslon Italic.59 


















;W O.v 




LIBRARY OF CONGRESS 


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